The same “high-level” automation underlies so-called “generative (or “procedural”) software techniques common today. The work ranges from still and motion graphics to architecture and games – from live visuals and animations by software artist Lia
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to the massive procedurally generated worlds in the game Minecraft .
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Other generative projects use algorithms to automatically create complex shapes, animations, spatial forms, music, architectural plans, etc. (A good selection of interactive generative works and generative animations can be found at www.processing.org/exhibition/.) Since most artworks created with generative algorithms are abstract, artists and theorists like to oppose to them to software such as Photoshop and Painter that are widely used by commercial illustrators and photographers in the service of realism and figuration. Additionally, because these applications simulate older manual model of creation, they are also seen as less “new media specific” then generative software. The end result of both of these critiques is that software that simulate “old media” are thought to be conservative, while generative algorithms and artworks are presented as progressive because these are unique to “new media.” (When people claim that artworks that involve writing computer code qualify as “digital art” while artworks created using Photoshop or other media applications do not, they rehearse a version of the same argument.)

However, as they are implemented in media applications such as Photoshop, software techniques that simulate previous media and the software techniques that are explicitly procedural and use higher-level automation are part of the same continuum. As we saw with the Wave filter, the same algorithm can generate an abstract image or a realistic one. Similarly, particle systems algorithms are used by new media artists and motion graphics designers to generate abstract animations; the same algorithms are also widely used in film production to generate realistic-looking explosions, fireworks, flocks of birds and other physical natural phenomena. In another example, procedural techniques often used in architectural design to create abstract spatial structures are also used in video games to generate realistic 3D environments.

The History and Actions Menus
I started this discussion of Photoshop filters to test the usefulness of two schemes for classifying the seemingly endless variety of software techniques available in media software: 1) media independent vs. media specific techniques (first scheme); 2) the simulations of previous tools vs. techniques which do not explicitly simulate prior media (second scheme). The first scheme draws our attention to the fact that all media applications share some genes, so to speak, while also providing some techniques that can only work on particular data types. The second scheme is useful if we want to understand the software techniques in terms of their genealogy and their relation to previous physical, mechanical and electronic media.

In order to be eligible, costs of goods needs to be incurred during the Action and be necessary. This implies that the relating results foreseen in the proposal need to be achieved within the duration of the implementation period of the Action.

If despite achieving the result, the partner has remaining goods at the end of the implementation period, the following steps - in order - will be taken depending on the volume of the remaining goods:

To
request a no-cost extension
via an
amendment by mutual consent
to give more time to distribute the remaining goods, provided that the no-cost extension is still possible and that the distribution meets the needs of the beneficiaries. In order to avoid risk of double funding in the event of an overlap of actions/activities, a no-cost extension is possible only if there is no follow-up Action or when the follow-up Action does not focus on addressing the same needs. (i.e. there is no overlap in the activities/results)

To
transfer or donate
the goods taking into consideration the conditions mentioned below.

To request
derogation
for goods difficult to transfer.

Transfer

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If the no-cost extension is not possible, and when the Action’s results are achieved and the remaining amount of goods does not result from procurement excessive to the needs, the goods can be transferred to a follow-up ECHO-funded Action. This applies when ECHO is the single largest donor and the quantity to be transferred is a marginal quantity. What is considered as marginal is to be defined in the light of all the goods of a similar type purchased within a given Action. ECHO considers as
marginal a quantity up to 5%
of the goods of similar type purchased in the Action. Per type of goods purchased, we can consider, for example, drugs, food, NFI kits. In some circumstances, due to the complex humanitarian situation, the quantity might be higher. In such cases, the partners should revert to ECHO to request a
derogation to transfer a bigger quantity
of remaining goods.

marginal a quantity up to 5%
derogation to transfer a bigger quantity

If there is
no follow-up Action
, the goods can be donated. When ECHO is the single largest donor and provided the results were achieved, the partner may donate goods left over at the end of the Action, of a marginal quantity, that were not used or distributed to beneficiaries to the following recipients